Your niece swears that no one expects thank-you letters anymore. Your father-in-law insists that married women have to take their husbands' names. Your guests plead that asking them to commit themselves to attending your party ruins the spontaneity. Who is right? Miss Manners, of course. With all those amateurs issuing unauthorized etiquette pronouncements, aren't you glad that there is a gold standard to consult about what has really changed and what has not? The freshly updated version of the classic bestseller includes the latest letters, essays, and illustrations, along with the laugh-out-loud wisdom of Miss Manners as she meets the new millennium of American misbehavior head-on. This wickedly witty guide rules on the challenges brought about by our ever-evolving society, once again proving that etiquette, far from being an optional extra, is the essential currency of a civilized world.

    Bourdieu develops a forceful critique of traditional approaches to language, including the linguistic theories of Saussure and Chomsky and the theory of speech-acts elaborated by Austin and others. He argues that language should be viewed not only as a means of communication but also as a medium of power through which individuals pursue their own interests and display their practical competence.Drawing on the concepts that are part of his distinctive theoretical approach, Bourdieu maintains that linguistic utterances or expressions can be understood as the product of the relation between a "linguistic market" and a "linguistic habitus." When individuals use language in particular ways, they deploy their accumulated linguistic resources and implicitly adapt their words to the demands of the social field or market that is their audience. Hence every linguistic interaction, however personal or insignificant it may seem, bears the traces of the social structure that it both expresses and helps to reproduce.Bourdieu's account sheds fresh light on the ways in which linguistic usage varies according to considerations such as class and gender. It also opens up a new approach to the ways in which language is used in the domain of politics. For politics is, among other things, the arena in which words are deeds and the symbolic character of power is at stake.This volume, by one of the leading social thinkers in the world today, represents a major contribution to the study of language and power. It will be of interest to students throughout the social sciences and humanities, especially in sociology, politics, anthropology, linguistics, and literature.

    Guided by Mendoza, M�rquez reveals - as transfigured in his work by the power of language - the heat and colour of the Spanish Caribbean, the mythological world of its inhabitants, the exotic mentality of its leaders.

    It wasn't work on a single book. Rather, it was work on different versions of what eventually became a single book: Ishmael, the eighth version and the only one in which the teacher Ishmael appears. When I started writing The Book of the Damned in 1981, I was sure I'd found the book I was born to write. The versions that came before had been like rainy days with moments of sunshine. THIS was a thunderstorm, and the lines crossed my pages like flashes of lightning. When, after a few thousand words I came to a clear climax, I said, "This MUST be seen," so I put Part One into print. Parts Two and Three followed, and I began searching for the switch that would turn on Part Four . . . but it just wasn't there. I clung to it for a long time after issuing the first three parts, desperately hoping to find a way to produce additional parts that would bring it to the conclusion I knew was "out there.” What I'd done was terrific—and complete in its own way—but at last I faced the fact that the whole thing just couldn't be done in lightning strikes . . . Another ten years passed before I found the way, a completely different way . . . in Ishmael, which was the embodiment of my message, providing the foundation for the clarifications, amplifications, and extensions still to come. But publishing The Book of the Damned had been no mistake. It deserved to be published, and it still does. Those lightning strikes illuminate an apocalyptic landscape never seen before—or after, in any of my later books (including Ishmael).

    Describing prairie restorations, this work provides an up-to-date directory of representative tallgrass prairies, prairie nurseries and seed sources.

    This album of photographs, watercolor sketches, watercolor paintings, and finished tempera paintings, accompanied by a revealing personal text, explores the world of Christina Olson, the subject of Wyeth's most famous paintings.

    Focusing on the immense photographic output of the Salpetriere hospital, the notorious Parisian asylum for insane and incurable women, Didi-Huberman shows the crucial role played by photography in the invention of the category of hysteria. Under the direction of the medical teacher and clinician Jean-Martin Charcot, the inmates of Salpetriere identified as hysterics were methodically photographed, providing skeptical colleagues with visual proof of hysteria's specific form. These images, many of which appear in this book, provided the materials for the multivolume album Iconographie photographique de la Salpetriere.As Didi-Huberman shows, these photographs were far from simply objective documentation. The subjects were required to portray their hysterical type--they performed their own hysteria. Bribed by the special status they enjoyed in the purgatory of experimentation and threatened with transfer back to the inferno of the incurables, the women patiently posed for the photographs and submitted to presentations of hysterical attacks before the crowds that gathered for Charcot's Tuesday Lectures.Charcot did not stop at voyeuristic observation. Through techniques such as hypnosis, electroshock therapy, and genital manipulation, he instigated the hysterical symptoms in his patients, eventually giving rise to hatred and resistance on their part. Didi-Huberman follows this path from complicity to antipathy in one of Charcot's favorite cases, that of Augustine, whose image crops up again and again in the Iconographie. Augustine's virtuosic performance of hysteria ultimately became one of self-sacrifice, seen in pictures of ecstasy, crucifixion, and silent cries.

    a classic work." --Phyllis CheslerOne out of seven American women who have ever been married has been raped by a husband or ex-husband. Written by the principal investigator for the National Institute of Mental Health study that discovered this shocking statistic, this book is a monumental, eye-opening work that dispels misinformation and illusions about a previously ignored aspect of family violence.

    

    offers a collection of essays, ranging across a variety of subjects, including sexual passion, kinship, mortality, marriage, and even theoretical physics, that seeks to comprehend feminism in its full, holographic nature.

    And such is Daniel O'Keefe's magisterial study of magic. This is a book that has drawn upon research in many disciplines to produce a truly general (and hence explanatory) theory of magic - a theory which will interest scholars in philosophy, sociology, religion, anthropology, history, psychology and other fields. But even more, this is a book that will appeal to every educated layperson who wants to understand magic's persistence. Here he will learn that magic was at one time the province of much of human understanding and that magical roots remain alive in many institutions of modern life; that magic once helped the human self to emerge and later shaped the institutions of the individual which still support that self; that a full understanding of the human experience even today requires a systematic explanation of magic; that without such understanding we may succumb in regression to a dangerous remedy which once helped us to advance. Through magic humanity has forever rebelled and then enslaved itself anew in structures of alienation of its own making. This is the story of the human past. It is also the record of the secular present, when even in a scientific age magical protest serves to remind us of the transcendent in everyday life. Yet, concomitantly and perennially, magic's Pyrrhic victories obscure man's native understanding that this transcendence is partly of his own making. This darkening of vision is evident in the current rash of escapist cults and mechanical rituals for transforming the self and the world. However, as this book emphasizes, even in less exotic forms the influence of magic remains pervasive...."

    This new edition of David Kunzle's rich and revealing history of corsetry and body sculpture shows how this neglected phenomenon is closely bound up with sexual self-expression. Drawing on sources as diverse as medical literature and popular magazine articles, this fascinating history shows how in many ways the use of the corset rejected the role of the passive, maternal woman - so that in Victorian times it was actually seen by many as a scandalous threat to the social order. Even today fashion designers recognise its subversive powers, as a symbol of eroticism, decadence and control. Taking in other curiosities such as ancient body decoration, male corsetry, masochism and foot fetishism, this is an often racy journey into the enigma of all those who sculpt the shape of their desires onto their bodies.

    He does not write history in the usual way. He walks backwards into the past, and the reader walks with him.'...I can imagine no more pleasant way of remembering or returning to or learning for the first time a thousand interesting things about Ireland.'...This is a book to buy and keep convenient, to return to again and again, savouring the flavour of a story or character delicately presented, looking through a small window into the past that made us what we are.' -- Irish Bookman